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印象派及現代藝術日拍

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Édouard Vuillard
1868 - 1940年
PORTRAIT DE MARCELLE ARON
Stamped E.Vuillard (lower right)
Peinture à la colle on paper mounted on canvas
50 3/4 by 43 1/2 in.
129 by 111 cm
Painted in 1913.
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來源

Estate of the artist
Galerie Maratier, Paris (acquired by 1943)
Sale: Hôtel Rameau, Versailles, March 3, 1963, lot 127
Galerie Urban, Paris
Sale: Christie's, London, December 6, 1963, lot 120
Brook Street Gallery, London
Weintraub Gallery, New York
William Kennedy, New York
Wendell Cherry, Louisville
Sale: Hôtel Drouot, Paris, November 20, 1988, lot 66
Galerie Matignon, Paris
Sale: Hôtel Drouot, Paris, November 26, 1993, lot 20
Acquired at the above sale by the present owner

展覽

Paris, Galerie Maratier, Quelques toiles sur l'élegance féminine dans la peinture1943, no. 73
Munich, Kunstverein, Die Moderne Arts Galerie seigt Bonnard, Roussel, Vuillard, 1959, no. 47, illustrated in the catalogue

出版

The Burlington Magazine, vol. 105, no. 728, November 1963, illustrated p. 11
Antoine Salomon & Guy Cogeval, Vuillard, The Inexhaustible Glance, Critical Catalogue of Paintings and Pastels, vol. II, Paris, 2003, no. IX-231, illustrated in color p. 1167

相關資料

The present work depicts the cousin of Lucy Hessel, Marcelle Aron. Lucy was the wife of the artist's notoriously philandering Bernheim-Jeune dealer Jos Hessel, who later became Vuillard's own mistress. Marcelle Aron shocked Parisian society by leaving her husband Sam Aron for the playwright Tristan Bernard. The present work is a direct view into this multi-faceted love triangle and serves as a reminder of the significant tie between the artist and the upper-class Jewish community in Paris. In this redolent portrayal we are acutely aware of the subject's longing and anxiety. In the midst of a beautifully rendered interior filled with Vuillard's characteristic patterns, the present work is exemplary of the way in which "the art of Vuillard is essential in its subtle task to release the psychic correspondences and morals which attach the individual to his medium; the atmosphere then assumes an infinitely greater importance than photographic resemblance and, yet, few painters will leave us more evocative images of certain contemporaries whom we knew intimately. Having not stuck to a literal resemblance, Vuillard gave us models better than any physical description; he gave them to us in their everyday lives, and where we expected to see the resemblance, we were moved to identify them truly" (Waldemar George, "Vuillard et l'age heureux" in L'Art vivant, May 1938, n.p.).

印象派及現代藝術日拍

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